Goddard; and "Dinner at Eight" (1933), directed by George Cukor, with Jean Har- low, Marie Dressler, and John Barrymore. FILM LIBRARIES, ETC. MUSEUM OF MODERN ART, Roy and Niuta Titus Auditorium, I I W. 53rd St. (956-7078)- Oct. 25 at 2 :30: "Mistletoes" (1979), in Hungarian, directed by J udit Ember; English subtitles. . . . (jJ Oct. 25 at 6 : "A Quite Ordi- nary Life" (1976), in Hungarian, directed by Imre Gyöngyössy and Barna Kabay; English subtitles. . - . (jJ Oct 25 at 8 :30: "My Father's Happy Years" (1977), in Hungarian, direct- ed by Sandor Simó; English subtitles.... (jJ Oct. 26 at 2 :30: "A Quite Ordinary Life." . . . (jJ Oct. 26 at 6: "Broken Blossoms" (1919), a silent film, directed by D. W. Grif- fith, with Lillian Gish, Richard Barthelmess, and Donald Crisp. . . . (jJ Oct. 27 at noon: "In Search of the Casta ways" (1962), directed by Robert Stevenson, with Maurice Chevalier, Hayley Mills, and George Sanders. . . . (jJ Oct. 27 at 2 :30: "Rain and Shine" (1977), in H un- garian, directed by Ferenc András; English subtitles. . . . (jJ Oct. 27 at 5: "When Joseph Returns" (1976), in Hungarian, directed by Zsolt Kezdi-Kovács (who will be present); English subtitles. .. ç Oct. 28 at noon: "In Search of the Castaways.".. (jJ Oct 28 at 2 :30: "Mistletoes.". . . (jJ Oct. 28 at 5: "Blind Husbands" (19 I 9 ), a silent film, directed by Erich von Stroheim, with von Stroheim, Francella Billington, and Gibson Gowland. . . . (jJ Oct. 29 at noon: A program of recent animated films from Hungary.... (jJ Oct. 29 at 2 :30: "My Father's Happy Years" (1977), in Hungarian, directed by Sándor Slmó; En- glish subtitles. .. (jJ Oct 29 at 6: A program of recent short films by Will Hindle.... (jJ Oct. 30 at noon: A program of recent ani- mated films from Hungary... . (jJ Oct. 30 at 2 :30: "Blind Husbands."... fJJ Oct. 30 at 6: "Trial for Rape" (1978), in Italian, a docu- mentary film. . . . C]J N ov. I at 2 :30: "Dream- ing Youth" (1974), in Hungarian, directed by Janos Rózsa; English subtitles. .' C]J N ()v. I at 6: "At the End of the Road" (1974), in Hungarian, directed by Gyula lVlaár; English subtitles. . . . (jJ N ov. I at 8: "Rain and Shine." . . . C]J Nov. 2 at 2 :30: "At the End of the Road.". . . C]J Nov 2 at 6: A program of Amer- ican animation and short actualities, 191 1-20, including works by Winsor yrcCay, John Bray and from the Pathé Studios. . . . C]J Nov. 3 at noon: "J\!Iary Poppins" (1964), directed by Robert Stevenson, with Julie Andrews, Dick Van Dyke, David Tomlinson, and Gly- nis Johns.... (jJ Nov. 3 at 3: "Adoption" (1975), in Hungarian, directed by :Márta Mészáros; English subtitles.... C]J Nov. 3 at 5: "25, Fireman's Street" (1973), in Hun- garian, directed by István Szabó; English subtitles. (A limited number of tickets are a vailable but only to those applying for them IN BR.IEF 23 in person at the museum after I I on the day of the showing.) WHITNEY MUSEUM, 945 Madison Ave., at 75th St.-Through Oct. 28: "The Birth of Trag- edy" (1978), directed by Dan Boord; "Re- member / Forget the IVth Symphony" (1978), directed by Dieter Froese; and "Vito's Reef" (1978), directed by Howard Fried.... (jJ Starting Oct. 30: "Grand Opera" (1979), directed by James Benning Showings at noon, 2, and 4 (plus 6 on Tuesday evenings). Call desk (794-0630) for ticket information. GOETHE HOUSE, 1014 Fifth Ave., at 83rd St. (744- 8 3 1 0)-Three programs in a series of films made by German directors when they worked in Hollywood. Oct. 27 at I and 4: "The Mummy" (1932), directed by Karl Freund, with Boris Karloff and Zita Johann; and "Mad Love" (1935), directed by Karl Freund, with Peter Lorre and Frances Drake. . . . C]J Oct. 30 at 6 and 8: "Pandora's Box" (19 2 8- 2 9), a silent film, directed by G. W. Pabst, with Louise Brooks and Fritz Kortner. . . . C]J Nov. 3 at [ and 3: "A Modern Hero" (1934), directed by G. W. Pabst, with Rich- ard Barthelmess and Jean Muir. FILM FORUM, 15 Vandam St., three blocks south of Houston St , at Sixth Ave. (989-2994)- A program of six new animated short films by Sandy Moore, Veronika Soul and Caroline Leaf, Kathy Rose, George Griffin, Robert Breer, and Suzan Pitt Showings Thursdays through Sundays at 7 :45. SEE ABOVE FOR THEATRE ADDRESSES AND TELEPHONE NUMBERS IF A MOVIE HAS BEEN REVIEWED IN THESE PAGES DURING THE PAST TWO YEARS, THE DATE OF ITS REVIEW IS GIVEN. THE AGE OF THE MEDICI (1973)-A noble three- part history made by the late Roberto Ros- sellini, full of thought and burning inquiry It is in the style that Rossellini perfected toward the end of his life-a style in which crucial moments of the past seem to be occurring in the present. Weare in Florence, in a world of low-toned, urgent, abstract discourses, and of small-town energy and rows and droppings in. There is gossip about Brunelleschi and Dona- tello, a resentful mutter from Ghiberti. We feel ourselves to be bang in the midst of the most invigorating family of citizens who have perhaps ever existed. In Italian. (Bleecker St. Cinema. Part I, "Cosimo de Medici" and Part II, "The Power of Cosimo;" N ov. I. Part III, "Leon Battista Alberti;" Nov. 2.) AMERICAN MADNESS (1932)-A topical melodra- ma of the Depression and bank failure. It's about a run on a bank-and with a twist that is purest Hollywood. The big banker (Walter Huston) is the hero, and it's his lower-eche- lon employees who are the villains. Frank Capra directed, and Robert Riskin wrote the script. Capra's dramatic use of the bank, w here almost all the action is set, is ingen- ious, and the sequences of the mounting panic and the storming of the bank are effectively staged, but the resolution is the usual Capra- Riskin populist hokum: the small depositors, grateful to Huston for his help in the past, bring in their savings to preserve his bank from ruin. Even this early in his career, Capra often underestimated the audience. In some cities, the picture was too topical: in Baltimore, it opened the day after a bank panic and closed in forty-eight hours. With Pat O'Brien, Constance Cummings, Kay Johnson, and Gavin Gordon (Little Theatre, Public Theatre; Nov. 1.) . . . AND JUSTICE FOR ALL-A preposterous but apparently well-intentioned melodrama about the criminal-justice system, directed by Nor- man J e\vison. Al Pacino, as a liberal criminal lawyer, is far from at his best (Reviewed in our issue of 10/22/79.) (Loews Tower East, and Loews State 2.) ANYTHI NG GOES (I 936)-Bing Crosby, in a mildly entertaining version of the Cole Porter Broadway musical comedy, with a book by Howard Lindsay and Russel Crouse about multiple cases of mistaken identity on board a liner crossing from New York to South- ampton. Paramount thirties musical comedies like this one are so openhearted in their dis- organized, frivolous silliness that they're not offensive, and sometimes the performers lift them to a surreal, happy state. The craziness here isn't crazy enough, though; the gags often suggest a dog-eared joke book Crosby's relaxed, lackadaisical manner sets the tone for the whole revue-like production; he's likable, though he doesn't supply any tension. Ethel Merman (in weird, puffy little short sleeves that stick up and out from her shoulders) has more energy than the others in the cast, but it's a gruesome sort of belting energy (her version of "I Get a Kick Out of You" has no romance), and even when she lowers her high, strident speaking voice she sounds bossy. With Ida Lupino, very shiny-blond and pretty as the ingénue; Charles Ruggles as Public Enemy No 13 disguised as a clergyman; Ar- thur T reacher (looking like a moose), Grace Bradley, the Avalon Boys, Chill Wills, and, in a bit, Jack Mulhall. Lewis Milestone di- rected, from the adaptation (i.e., bowdleriza- tion) that Guy Bolton, Lindsay, and Crouse did. There are a few classic Porter songs, also Richard Whiting's and Leo Robin's "Sailor Beware" and Edward Heyman's and Hoagy Carmichael's "Moonburn." (Remade in [956, also with Crosby) (Theatre 80 St. Marks; Nov. 1.) ApOCALYPSE Now-The beautiful, classical struc- ture-a journey upriver through a place of evil-comes from Joseph Conrad's "Heart of Darkness," but the tone comes from reporter Michael Herr's "Dispatches." The characters like the people in Herr's reporting, are living through Vietnam as pulp adventure fantasy, as movie, as stoned humor. Captain Willard (Martin Sheen) travels upriver to Cambodia, on a mission to kill the "unsound" Green Beret Colonel Kurtz (Marlon Brando); the movie progresses from deadly efficiency con- trolled by a bizarre Air Cavalry officer named Kilgore (Robert Duvall) to chaos controlled by no one For two hours, this is an inspÌred reimagining of Conrad but it collapses in a final attempt to show the unshowable-not just evil but Evil. With Frederic Forrest, Albert Hall, Sam Bottoms, Larry Fishburne, and Dennis Hopper. Directed by Francis Coppola; narration written by Michael Herr. (9/3/79) (Ziegfeld.) AVALANCHE EXPREss-With Lee Marvin, Robert Shaw, Linda Evans, and Maximilian Schell; directed by Mark Robson. (Forum.... C]J R.K.O. 86th St.; through Nov. 1.) THE BIG BROADCAST OF 1938-0ne of the best of the pleasantly anarchic Paramount vaudeville shows. This one features W. C. Fields, Kir- sten Flagstad, Martha Raye, Dorothy La- mour, and Bob Hope and Shirley Ross sing- ing "Thanks for the Memory," and most of it takes place on an ocean liner. Mitchell Leisen directed. (Little Theatre, Public Thea- tre; Nov. 3.) BIRD OF PARADISE (1932)-The director, King Vi- dor, and his associates performed near-mira- cles on this outdated story (an adaptation of a stage melodrama) about a Polynesian prin- cess (Dolores Del Rio) whose love for a white man (Joel McCrea) results in her be- ing punished by the Polynesian priests (she's thrown into a volcano). The talk is fearfully silly, but Clyde De Vinna's rich, tactile cine- matography, the foliage of the locations, and Max Steiner's overblown score contribute to some high romantic effects (Thalia; Nov. 2-3.) THE BLACK STALLION-With Mickey Rooney, Kelly Reno, and T eri Garr; directed by Carroll Bal- lard. (Festival.) THE Boys IN COMPANY C (1978)-For what it is, this Sidney J. Furie film is very well done; the problem is in what it is A comedy-melo- drama about a group of Marine recruits who go to Vietnam, it attempts, while taking anti- Vietnam War attitudes, to show how com- radeship builds character-as in Second World War movies. Rambunctious service- comedy situations are given a raucous, hip updating and encrusted with four-letter words Furie keeps the gags and the senti- ment coming. It's an exploitation war movie-mostly, it's like dirty TV -and the highly volatile, predominantly male audiences it attracts really get with it The relatively fresh cast includes Stan Shaw, James Whit- more, J r., Lee Ermey, Santos Morales, and Andrew Stevens. The mixed-up, messagey, schizophrenic script IS by Furie and Rick N at- kin. (With a John Wayne movie, you at least knew where you were.) (St. Marks Cinema; through Oct. 25.) BREAKING AWAy-A cheerful comedy about four high-school graduates (Dennis Christopher, Dennis Quaid, Daniel Stern, and Jackie Earle Haley) v"vho don't know what to do next Paul Dooley and Barbara Barrie playa set of par- ents with confused notions about progress. Directed by Peter Yates, with affection for the middle class, the landscape of Indiana, and bicycle racing. (8/6/79) (Waverly, Loews 83rd Quad, and Embassy) THE BUGS BUNNY I ROAD-RuNNER MOVIE-A retro- spective of works by Chuck Jones, including HDuck Amuck," "What's Opera, Doc ?," ((Duck Dodgers in the 24 Century," ex- cerpts from Road-Runner cartoons, and some new material by Jones. (Guild.... (jJ Para- mount; through Nov. L) LA CAGE AUX FOLLEs-A brilliant comedy about a pair of aging homosexuals, one of whom has had a son; the son is eager to marry, his fian- cée is extremely conventional, and her fam- ily wishes to make the acquaintance of his family. Trouble in paradise, here known as Saint- Tropez. Edouard Molinaro directed. In French (5/28/79) (68th St. Playhouse.) CÉSAR AND ROSALIE (1972)-Yves Montand, in a jovial, parodistic performance as a scrap-met- al tycoon-a super-confident self-made man who enjoys being No 1 in work and play. (It's the sort of role Raimu used to appear in.) César has everything until the love that Rosalie (Romy Schneider) feels for him goes flat; the cause is the wan, elegantly despond-